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This chapter discusses Jamila Gavin's award-winning story of lost children, Coram Boy, an adaptation of which opened at the Olivier Theatre in November 2005. Like Priestley, Gavin utilises the idea of ‘return’ to forge a connection between past and present. While Priestley does this in order to question the shape of the future, however, Gavin concentrates on rediscovery and renewal. Virtually all the plays and novels discussed in the book are strongly reliant on narrative. This book ends with an emphasis on survival. At the end of Gavin's story, a lost child is found and a breach in time is...

This chapter discusses Jamila Gavin's award-winning story of lost children, Coram Boy, an adaptation of which opened at the Olivier Theatre in November 2005. Like Priestley, Gavin utilises the idea of ‘return’ to forge a connection between past and present. While Priestley does this in order to question the shape of the future, however, Gavin concentrates on rediscovery and renewal. Virtually all the plays and novels discussed in the book are strongly reliant on narrative. This book ends with an emphasis on survival. At the end of Gavin's story, a lost child is found and a breach in time is healed.